F 

CL. 

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LIBRARY 

NO. 

M.KNOEDLER  &  GO. 

Hr 

556-8  Fifth  Ave. 

ACC. 

New  York 

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Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


« 


https://archive.org/details/catalogueofvaluaOOhenr 


V- 


’ 

p 


2  CATALOGUE 


OK  THE 


VALUABLE  COLLECTION 


OK 


OIL  PAINTINGS, 


KORMERLY  THE  PRIVATE  COLLECTION  OF 


W.  P.  WRIGHT,  Esq.,  of  New  Jersey, 


NOW  ON  VIEW  AT 


845  BROADWAY,  NEW  YORK, 


TO  BE  POSITIVELY  SOLD  AT  * 


PUBLIC  AUCTION 


BY 


HENRY  H.  LEEDS  80  MINER, 

817  BRO  AL  W  .A.  Y , 

«• 

At  Seven  o’Clock, 

xt  ■  ’ 

On  the  Eveninr/  of  M OW'D  A  Y,  MAD  CUT  /8th,  7867 . 

. ,  i  t yf|.  -f.»  *  1  A 


TERMS  CASH— CURRENT  FUNDS. 

A  deposit  of  Ten  per  cent,  or  more  will  be  required  from  all  purchasers,  at  the  option  of 
the  Auctioneer,  which  deposit  shall  apply  to  all  articles  purchased  at  this  sale. 

All  purchases  must  be  paid  for  and  the  articles  removed  within  twenty-four  hours  after  the 
close  of  the  sale,  or  the  deposit  will  be  forfeited,  and  the  sale  annulled,  at  tbe-option  of  the 
Auctioneers.  All  reclamations  must  be  made  on  or  before  12  o’clock,  M.,  of  the  day  after  the 
sale. 


Baldwin  &  Jones,  Printers,  114  Fulton  Street. 


FECHNER,  E.  Paris. 

1.  YOUNG  STUDENT. 


HUBBARD,  R.  W.  New  York. 

2.  SKETCH. 

RIJK,  F.  Amsterdam. 


3.  SHEEP. 

4.  THE  OX-TEAM. 


RAVEN,  S.  J7  London. 

5.  CHURCH  IN  WHICH  LATIMER  PREACHED. 


SUYDAM,  J.  A.  New  York. 

6.  ON  THE  BEACH. 

A  little  gem  by  this  very  favorite  native  artist. 


ROSSITER,  I.  _P.  New  York. 


7 


THE  VENETIAN  MAID. 


RAILTON,  F,  J.  London. 

8.  NEAR  PERSHORE— WORCESTERSHIRE. 


OERTEL,  J.  A.  New  York. 

9.  THE  PHILOSOPHER. 


/  0  S~ 


TAIT,  A.  F.  New  York. 

10.  DEER  STALKING  IN  THE  HIGHLANDS. 


YOUNGHEIM. 


11.  BAY  OF  NAPLES. 


Dusseldorf./ 


INNESS,  GEORGE.  New  York. 


2^ 


2 > 


13.  CHICKENS. 

14.  RABBITS. 


15.  AUTUMN. 


McENT 


LI  PARI  N  I, 


J. 


/ 

L. 


New  York. 

iXZZT) 

Venice. 


16.  LAST  HOURS  OF  MARINO  FALIERO. 

The  Doge  was  in  prayer  with  the  monk  in  his  private  chapel  in  the 
ducal  palace,  and  before  being  deprived  of  his  ducal  vestments, 
preparatory  to  being  beheaded,  his  young  wife  implores  pardon,  for 
the  last  time,  for  having  been  the  involuntary  cause  of  his  trial  and 
death.  He  was  beheaded  17th  April,  1355, 


3 


MEYERHEIM,  W.  Berlin. 


ft 


17.  WINTER. 


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/#.. 


70- 


INNESS,  GEORGE.  New  York. 

18.  SUMMER— Rain  Storm  Clearing  Off. 

IMER,  ED.  Paris. 

19.  ORIENTAL  LANDSCAPE. 

WEBBE,  H.  London. 

20.  SHANKLIN-ISLE  OF  WIGHT. 


AUFRAY,  EDWARD  ALPHONSE. 

/f  $  A  /?  1  / 

/  /'  '/ 

21.  CASTLE  OF  CARDS. 


LANG,  LOUIS. 

22.  PORTRAIT  OF  F.  O.  C.  DARLEY. 

MUSIN,  F. 

23.  MARINE  VIEW. 


* 


z  / 


HOYLE.  New  York. 

24.  THE  HIGHLANDS  ON  THE  HUDSON. 

This  view  of  the  river  is  taken  from  a  little  above  West  Point. 


THIEL.  Dusseldorf. 


25.  THE  SAVOYARDS. 


4 


g  a 

U  A  J 


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/  i/  /  / 

i  * 


WOLF.  Dresden. 


26.  MOTHER  AND  CHILD. 


i  or 


WALTER,  J.  W. 


27.  FOREST  SCENE. 


/• 


7^ 


WHITTREDGE,  W.  New  York. 

28.  SKETCH. 

LIFFERS,  H.  Antwerp. 

29.  EXTERIOR  OF  A  DUTCH  INN. 


70 


30-MARINE  VIEW. 


MUSIN,  F. 


VAN  BREE.  Antwerp. 


31.  POULTRY  DEALER. 


/  fr 


jAj 


MIGNOT,  L.  R.  New  York. 


7S: 


32J  “AYE  MARIA.’ 


MOESLAGEN. 

/  }  f  ' 

33.  KITCHEN  MAID 

MOREAU,  CH.  Paris. 


34,  THE  YOUNG  NURSE, 


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MADOU.  B  russels. 


35.  THE  CARD  PLAYERS. 


^  9 


HUNTINGTON,  D.  New  York. 


36.  PORTRAIT  OF  PROFESSOR  SILLIMAN. 


37. 

38. 
39’ 


S.  F.  B.  MORSE. 
HARE. 

HENRY. 


// 


HUGUET,  CHARLES. 


40.  AN  INTERIOR. 


HOUBRAKEN,  ARNOLD.  Dort. 


I* 


41.  DEATH  OF  LUCRETIA. 

The  insult  inflicted  by  Tarquin  on  this  Roman  Lady  caused  the  expulsion 
of  the  Kings  from  Rome,  which  was  thereafter  a  Republic.  She 
lived  until  she  informed  her  husband,  and  then  killed  herself. 


7 


KLEIN,  WILLIAM.  Dusseldorf. 


42.  LANDSCAPE. 


HAYS,  W.  J.  New  York. 

^  ^  43.  ALAS!  POOR  YORICK. 


~7< 


HART,  WILLIAM.  New  York. 


44.  AUTUMN  WOOD  SCENE. 


v 


45.  STUDY  OF  WILD  FLOWERS. 

This  is  a  little  curiosity  in  its  way ;  showing  a  large  amount  of  attentive 
study  from  Nature. 


CROPSEY,  J.  F.  New  York. 


46.  TEMPLE  OF  VESTA. 

These  beautiful  ruins  are  situated  eighteen  miles  from  Rome,  overhanging 
the  falls  of  the  Anio.  A  very  rich  piece  of  coloring.  One  of  the 
artist’s  finest  earlier  efforts. 


4  4 


INNESS,  GEORGE. 

46X.  SUNSHINE  AND  SHADOW. 

LAMBINET,  EMILE.  Paris. 


A 


i 


47.  THE  HOMESTEAD. 

The  atmospheric  effects  of  this  picture,  representing  a  cloudy,  lowering 
day  in  the  green  spring-time,  are  unusually  fine  and  true  to  Nature, 
-This  is  universally  considered  a  very  valuable  specimen  of  this 
great  pupil  of  the  great  Horace  Yernet. 


HILL,  J.  H.  New  York. 


48.  DISTANT  VIEW  OF  NEW  YORK. 

This  view  is  taken  from  the  house  of  J.  G.  Gregory,  and  embraces  New 
York,  Steven’s  Point,  Hoboken,  and  the  Narrows,  with  Staten 
Island. 


j 


CHURCH,  F.  E.  New  York. 


49.  LANDSCAPE— Mount  Desert  Island. 


Jr  '  . 


COLE,  T.  New  York. 


50.  SKETCH. 


7 


CHAPMAN,  J.  G. 


51.  MADONNA  DEL  SACCO,  by  ANDREA  DEL  SARTO. 

A  copy  of  the  famous  picture  in  the  Convent  of  the  Paclri  Serviti  at  Flor¬ 
ence,  painted  in  1525  for  ten  crowns.  Mentioned  with  praise  by  Va¬ 
sari.  The  figures  on  the  lower  part  of  the  frame  are  the  arms  of 
the  monastery.  The  head  is  a  copy  of  Andrea’s  portrait  of  himself 
in  Florence. 


BODDINGTON,  E.  Jun’r.  London. 

52.  ON  THE  RIVER  THAMES.  ) 

f  (A  pair.) 

53.  ON  THE  RI  VER  LODDON.  > 

Two  pleasing  small  pictures  of  true  English  scenery. 


BLONDELL.  New  York. 

54.  FEMALE  HEAD. 


BELLOWS,  A.  F.  New  York. 

55.  THE  BY-PATH. 


BECKER,  CARL. 


56.  THE  ANNOUNCEMENT. 


V 


Berlin. 


BEAUME,  JOSEPH.  Paris. 


57. 


MOSES. 

A  grand  treatment  of  this  interesting  Biblical  subject.  The  figure  of 
Pharaoh’s  daughter  is  drawn  with  a  chasteness  and  elegance  almost 
bordering  on  the  purity  of  sculpture — while  all  the  surroundings  and 
general  tone  are  in  admirable  keeping  with  the  sublimity  of  the 
subject. 


DE  LA  CROIX,  EUGENE.  Paris. 


58.  DANTE  AND  VIRGIL  CROSSING  THE  STYX. 

This  picture  is  a  sketch  of  the  one  in  the  Louvre,  considered  the  most 
famous  picture  of  this  the  most  famous  painter  (especially  colorist) 
of  France.  The  figures  in  the  water  are  those  undergoing  what — in 
pagan  mythology — corresponds  to  our  ideas  of  purgatory. 


ACHENBACH,  ANDREAS. 


59.  MARINE  VIEW. 


A  picture  of  great  power  and  beauty,  condensed  into  a  small  space,  and 
possessing  the  best  characteristics  of  this  first  of  German  landscape 
painters. 


CANTINEAU.  Antwerp. 

60.  CHIPS  OF  THE  OLD  BLOCK. 


BROWN,  J.  G.  New  York. 

61.  SKETCH  OF  A  CHILD. 


62. 


CHAPLIN,  CHARLES  JOSUAH.  Paris. 

OUR  FATHER.” 

A  perfect  little  gem,  of  great  power  and  feeling,  rivalling  the  best  efforts 
of  P.  Ed.  Frere.  The  devotion  depicted  in  the  face  of  the  little  girl, 
and  her  attitude  are  beautifully  expressive. 


/ 


KENSETT,  J.  F. 


63.  THE  WHITE  MOUNTAINS. 

The  sun  is  setting  lurid  in  a  misty  autumn  evening,  while,  high  up,  there 
are  a  few  clouds  edged  with  the  last  bright  ray,  and  from  beneath 
a  winding  river  gives  back  the  farewell  glances  of  the  departing  sun. 


TANNEUR,  PHILIPPE.  Paris. 


64.  SINOPE. 

This  is  the  name  of  a  very  ancient  Turkish  seaport  town  on  the  Black 
Sea,  in  Asia  Minor,  said  to  he  the  birth-place  of  Diogenes,  the  Cynic. 
The  Russians  bombarded  it  on  the  30th  Nov.,  1853,  and  destroyed 
the  Turkish  fleet,  thus  inaugurating-  the  Crimean  war.  The  picture 
represents  a  fight  there  between  a  Russian  and  a  Turkish  man-of-wai 
It  is  pronounced  a  noble  work  of  the  kind. 


BERCHERE,  NARCISSE. 

65.  A  CARAVAN  IN  ASIA. 


DUVERGER,  THEOPHILE  EMANUEL.' 

66.  THE  NEW  CAP. 

CARY,  W.  M.  New  York. 

67.  STUDY  OF  A  CALF. 


BROWN,  G.  L.  New  York. 

68.  VENICE  BY  MOONLIGHT. 

A  moonlight  scene,  representing  the  well  known  Piazzetta  di  San  Marco 
and  the  famous  Lion  of  St.  Marc  ;  the  Ducal  Palace  on  the  right, 
the  Lagoons  and  San  Georgio  on  the  left.  In  the  opening  on  the 
right,  between  the  Ducal  Palace  and  the  next  building,  is  the  “  Bridge 
of  Sighs.” 


HICKS,  THOMAS.  New  York. 

69.  JOSEPH  AMD  HIS  BRETHREN. 

2 


TILTON.  Rome. 


70.  TEMPLE  OF  PiESTUM. 


These  beautiful  ruins — the  finest  existing  architectural  remains  of  Groeco 
— Roman  magnificence — occupy  the  site  of  the  ancient  city  of  Luca- 
nia,  now  an  uninhabited  plain  near  the  shore  of  the  gulf  of  Salerno. 
A  charming  picture,  which  fascinates  the  more  it  is  looked  at. 


HERRING,  J.  F.  London. 


71.  FARM  YARD  IN  NORTHUMBERLAND. 


A  very  fine  specimen  of  this  great  national  painter  of  the  English  Race¬ 
course,  who,  for  over  forty  years,  has  taken  the  portraits  of  the 
principal  winners. 


BRETON,  JULES  ADOLPE.  Paris. 


72.  THE  VILLAGE  PERAMBULATOR. 


A  very  pleasing  and  thoroughly  french  picture,  It  is  a  simple  village 
scene,  showing  what  skilful  design  and  good  coloring  can  make, 
out  of  the  plainest  materials,  in  the  hand  of  a  consummate  artist. 


BOUGHTON,  G.  H.  NewYork. 


73.  THE  AMBUSH. 


BODDINGTON,  H.  J.  London. 


74.  ON  THE  RIVER  DEE,  Cheshire. 


One  of  the  purest  specimens  of  English  landscape,  by  one  of  England’s 
most  truthful  and  effective  landscape  painters.  The  time  chosen  is 
an  Autumn  Morning;  and  the  artist  has  shown,  with  wonderful 
fidelity,  that  dreamy  quietude  and  softness,  so  peculiar  to  English 
inland  scenery. 


MORSE,  PROF.  S.  F.  B.  New  York. 


75.  PORTRAIT  OF  THORWALSDEN. 


This  portrait  of  the  famous  Danish  sculptor  was  painted  from  Nature,  by 
Morse,  while  studying  art  in  Rome.  It  has  a  double  value  from  the 
renown  since  achieved  by  the  artist  in  the  world  of  science. 


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FRERE,  EDOUARD  PIERRE. 

76.  THE  WASHERWOMAN. 


Paris. 


DUVERGER,  THEOPHILE  EMANUEL  Paris. 


77.  MUSIC  STEALING-. 

A  good  sample  of  those  thousands  of  genre  pictures  produced  year  after 
year  in  Paris,  charming  in  idea  and  color. 


ELLIOTT,  C.  L.  New  York. 


78.  THE  CAVALIER. 

A  bold  and  masterly  study. 


JENKINS.  London. 


79.  PORTRAIT  OF  BENJAMIN  WEST,  Pres’t  R.  A. 


Mr' 


ETTY,  WILLIAM.  R.  A.  London. 


80.  STUDY. 


A  small  picture,  but  remarkable  for  that  fine  flesh  tinting  and  powerful 
coloring  peculiar  to  all  the  works  of  this  great  artist — in  his  close 
studies  of  the  life  school,  which  he  frequented  to  the  last. 


s* 


JACOBSEN,  S.  Dusseldorf* 

81.  WINTER  VIEW  NEAR  DUSSELDORF. 

DIAZ  DE  LA  PENA.  Paris. 

82.  A  WOODLAND  SCENE. 

A  very  fine  sketch  by  one  of  the  most  popular  artists  in  Paris. 


/ 

.  / 

/ 

12 

KAUFFMANN,  ANGELICA.  Coire,  Switzerland. 

83.  THE  INSPIRATION  OF  SHAKSPEARE. 

This  was  painted  in  London  about  P770. 


CHAPMAN,  J.  G.  Rome. 

84.  BAY  OF  GENOA. 

85.  MADONNA  AND  CHILD,  by  MURILLO,  (Copy.) 

This  is  from  the  splendid  original  in  the  Corsini  Palace,  Rome,  said  to 
be  the  only  picture  of  Murillo  in  that  city. 


TROYON,  CONSTANT.  Paris. 


86. 


/ 


LANDSCAPE  WITH  CATTLE. 

One  of  the  finest  pieces  of  an  artist  who  is  justly  considered  the  first  of 
cattle  painters,  after  Rosa  Bonheur,  and  his  works  stand  well  in 
comparison  even  alongside  of  hers.  So  splendid  are  the  landscapes 
in  which  this  painter  sets  his  cattle  that  it  is  questioned  by  many 
if  landscape  does  not  constitute  his  chief  claim  to  fame. 


VERBOECKHOVEN,  EUGENE. 

LOCH  LOMOND. 


Brussels. 


Universally  considered  one  of  the  most  perfect  and  faultless  specimens  of 
this  artist. 


LANG,  LOUIS.  New  York. 

88.  A  SEWING  SOCIETY. 

A  “  Dorcas  Society”  where,  as  usual,  though  like  Dorcas,  “full  of  good 
works,”  the  “  Society”  seems  a  considerable  attraction.  The  faces 
are  chiefly  portraits. 


STAIGG,  R.  M.  New  York. 


89.  A  BOY’S  HEAD. 


13 


/ 


\ 


/ 


LEUTZE,  E.  New  York. 


/ o.  lady  godiva. 


1/ 


91.  PORTRAIT  OF  E.  LEUTZE. 


GLASS,  J.  W.  New  York. 


92.  BATTLE  OF  NASEBY. 

This  painting  represents  Cromwell  and  Fairfax  examining  prisoners  after 
the  decisive  battle  of  Naseby.  The  figure  on  horseback,  to  the  left, 
is  Lord  Fairfax.  In  front,  standing  up,  is  Oliver  Cromwell.  In  the 
centre  are  Lord  and  Lady  Ashley.  In  the  background,  on  the  right, 
is  the  King’s  carriage,  and  beside  it  are  the  ladies  of  the  Court. 
Many  of  the  characters  are  likenesses  by  Vandyke. 


CRABEELS,  S.  H.  Antwerp. 


/  7* 


93.  FAIR  AT  ANTWERP. 

A  most  amusing  and  interesting  picture,  thoroughly  Flemish,  and  a 
perfect  transcript  of  life.  The  more  it  is  studied  the  better  it  repays 
examination,  in  the  minutest  particular. 


ACHENBACH,  ANDREAS.  Dusseldorf. 

ROTTBERG  ON  THE  RHINE. 

A  singular  effect  of  sunset  and  moonlight  combined;  very  simple  and 
full  of  quiet  sentiment.  The  Castle  is  low  on  the  Rhine,  and  seldom 
visited. 


BARWELL,  F.  B.  London. 


95.  ADOPTING  A  CHILD. 

A  favorable  specimen  of  the  work  of  a  so-called  pfe-Raphaelite  artist. 
The  picture  tells  its  own  story.  John  Ruskin,  in  his  notes  on  the 
Royal_Academy  (London)  Exhibition  of  1857,  bestows  high  praise 
"on  this  picture. 


^  9  3  rf,  ? 

U 

#  x  V 

HILGERS,  CHARLES.  Dusseldorf. 

/  y»  y 

96.  WINTER. 

/fit 

DOUGHTY,  Thos.  New  York. 

97.  VIEW  NEAR  DELAWARE  GAP. 

VERBOECKHOVEN,  EUGENE. 

98.  SHEEP. 

^  -  This  little  gem  contains  all  the  best  characteristics  of  the  artist. 

/ 

//0 

SOYER,  PAUL 

99.  THE  CAREFUL  GRANDMOTHER. 

DURAND,  A.  B.  New  York. 

// 
t/y  v 

f 

100.  SUMMER. 

A  very  valuable  picture,  which,  in  color  and  arrangement,  reminds  one 
strongly  of  Claude  Lorraine’s  best  efforts.  It  may  be  questioned 
if  a  more  faultless  and  pleasing  painting  ever  emanated  from  this 
patriarch  of  American  landscape. 

/-) 

JACQUES,  C.  Paris. 

101.  THE  FARM  YARD. 

One  of  the  finest  productions  by  this  unrivalled  delineator  of  Poultry. 
He  is  the  most  popular  artist  in  France,  in  his  particular  line  of  art, 
and  is  to  the  Paris  “Illustration”  what  Harrison  Weir  is  to  the 
“Illustrated  London  News.” 

/* 

y  j 

£  yt 

102.  ADORATION  OF  THE  SHEPHERDS-after  Veronea. 

103.  TITIAN’S  ASSUMPTION  OF  THE  VIRGIN.  Venice. 

,(p~ 

MAY,  E.  H.  Paris. 

f/  N 

V 

104.  A  GREEK  SLAVE. 

105.  PORTRAIT  OF  ALPHONSE  D’AVALOS  AND  HIS  MIS¬ 

^  A  /ju 

TRESS. 

15 


1 

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• 

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15 

SCHALCK,  ERNST.  Frankfort. 

J!) 

106.  WAGONER’S  DEPARTURE. 

VELASQUEZ. 

107.  DRINKING  SCENE. 

GRAY,  H.  P. 

108.  STUDY  OF  A  HEAD. 

/  t*  o 

109.  PORTRAIT  OF  H.  P.  GRAY. 

GRAY,  H.  P. 

i  9 

7  0 

109*.  BASSANIO  AND  PORTIA-Casket  Scene. 

J.  W.  GLASS.  New  York. 

110.  SAFE! 

The  trooper  is  supposed  to  have  l»een  pursued,  and  to  be  looking  back,  in 
safety,  across  the  valley  he  has  just  passed. 

'  - 

HALL,  GEORGE  H. 

111.  MEPHISTOPHELES. 

112.  TRIBUTE  MONEY,  (Titian,  copy.) 

f  / 

ROBERT-FLEURY,  JACOB  NICHOLAS.  Paris. 

113.  THE  DIAMOND  STUDS. 

E.  H.  MAY. 

114.  MADONNA,  (after  Murillo.) 

/  #■"/  / 

/V  °  ' 

115.  COPY  OF  TITIAN’S  ENTOMBMENT. 

GREEN,  JOSIAH.  Paris. 


116.  MOTHER  AND  BOY. 

117.  ZOUAVE. 

GUERARD,  AMEDEE.  Paris. 

118.  PARIS  LIFE. 

TERRY.  Rome. 

119.  PORTRAIT  OF  J.  G.  CHAPMAN. 

ROFFIAEN  &  VERBOECKHOVEN. 

120.  SCOTLAND. 

EASTMAN  JOHNSON. 

T-S 

121.  CROSSING  THE  BROOK. 

MULLER,  MORTON.  Dusseldorf. 

122.  LANDSCAPE. 

A  very  powerful  and  effective  picture,  full  of  the  boldest  massing  and 
coloring.  In  tone  and  feeling  it  reminds  one  of  Rousseau’s  works, 
and  would  not  be  unworthy  of  the  pencil  of  that  great  master. 

NYHOFF.  D  usseidorf. 

123.  VIEW  IN  THE  UPPER  INN  THAL— Tyrol. 

A  fine  representation  of  the  sublime  scenery  of  the  Tyrolese  Alps. 


DUVERGER,  THEOPHILE  EMANUEL. 


124.  GRANDMAMMA  IS  ILL. 


< 


17 


i 


PILOTY  of  Munich. 


125.  RIENZI. 

A  grand  picture  in  the  German  style.  The  scene  represents  the  first  ap¬ 
pearance  of  Nicholas  di  Rienzi  when,  arrayed  in  the  extravagant 
costume  which  was  a  part  of  the  charlatanism  that  tarnished  the 
nobleness  of  his  career,  he  harangued  the  nobles  and  people,  in  pres¬ 
ence  and  under  the  protection  of  the  Bishop  of  Orvieto,  Yicar  of 
Clement  YI.  (See  Bulwer’s  “  Rienzi,  or  last  of  the  Tribunes.”) 


PRLVEZ.  AUGUSTE.  Paris. 


/; 


JL2£L  THE  MOTHER. 


The  first  picture  painted  by  the  artist,  and  thought  in  Paris  a  great  success. 
The  manner  recalls  Raphael  and  Leonardo  in  their  peculiarities. 


MINTHROP.  Dusseldorf. 


1C5-7  the  young  bacchanalians. 


This  original  pencil  drawing,  by  one  of  the  first  delineators  of  form  in 
Dusseldorf,  is  universally  considered  a  wonderful  production.  The 
endless  variety  of  attitude  and  exuberance  of  invention  are  quite 
surprising  and  will  repay  the  closest  scrutiny. 


LEE,  R.  A.  F.  R.  London. 


128.  TAW  YALE-NORTH  DEVON. 


A  masterly  picture,  which  gives  as  good  an  idea  of  true  English  scenery 
as  can  be  conveyed  to  canvass. 


GALLAIT,  LOUIS.  Brussels. 


129.  THE  LAST  HONORS  PAID  TO  COUNTS  EGMONT  AND 
HOORN. 

These  two  noblemen  were  beheaded  at  Brussels  in  1568,  by  order  of  the 
Duke  of  Alva,  who  had  been  sent  over  by  Phillip  II.  of  Spain,  and 
the  Inquisition  to  suppress  Protestant  movements  in  the  Low  Coun¬ 
tries,  which  the  two  victims  were  suspected  of  assisting.  Egmont 
r>-*  wras  a  true  and  brave  soldier,  who  had  won  hard  honors  in  the  armies 
both  of  Phillip  and  his  great  predecessor,  Charles  Y.  It  is  ques¬ 
tionable  if  any  work  of  this  great  artist,  at  all  approaching  this  in 
value,  can  be  found  on  this  continent. 


3 


BIERSTADT,  A. 


129X.  LAKE  TAHOE,  CALIFORNIA. 


GILLARD,  WILLIAM.  Dublin. 


130.  THE  NEW  SUIT. 

This  is  one  of  those  truthful  scraps  of  nature  which  pleases  the  more  it 
is  examined. 

i  f  i  i  •> 

CROPSEY,  J.  F. 

131.  INDIAN  SUMMER. 

This  is  a  scene  near  Newburgh,  on  the  Hudson,  looking  up  towards  the 
Highlands,  and  taken,  as  its  name  indicates,  at  that  beautiful  season 
so  exquisitely  sung  by  Longfellow,  and  which  is  justly  considered 
the  glory  of  our  American  climate. 


LAMBINET,  EMILE. 

132.  THE  DUCK  POND. 


FRERE,  EDOUARD  PIERRE.  Paris. 

133.  THE  YOUNG  HOUSEKEEPERS. 


STONE,  W.  0.  New  York. 


134.  CHILD’S  HEAD. 


GIFFORD,  S.  R.  New  York. 

135.  LAKE  SINOPEE. 

GIGNOUX,  R.  New  York. 


136.  DISMAL  SWAMP- Virginia. 


/ 


/ 


19 


MONGINOT,  CH.  Paris. 


137. 

?r 


THE  INFANT  BACCHUS. 


A  very  effective  sketch,  freely  and  boldly  painted  in  masers,  in  the  style 


of  this  popular  master. 


ULYSSE,  JEAN  JUDE,  Paris. 


138.  THE  DUEL. 


A  very  fine  painting,  rich  in  color  and  beautiful  in  drawing,  telling  its 
painful  story  most  effectively. 


/ 

39.  DOGS. 


VERBOECKHOVEN,  EUGENE. 


This  remarkable  little  specimen,  in  a  style  quite  unusual  with  this  re¬ 
nowned  artist,  proves  him  as  great  an  adept  in  painting  dogs  as 
sheep. 

Note.— The  following  two  paintings  have  been  forwarded  to  Paris,  having  been 
selected  for  the  great  Exposition,  and  are  under  the  charge  of  Mr.  S.  P.  Avery,  Agent  of  the 
Government.  The  “Source  of  the  Suequehannah”  is  insured  for  $3,0€0,  and  the  “Old  - 
Kentucky  Home”  for  $10,000.  These  paintings  are  now  offered  for  sale,  to  the  highest 
bidder,  with  the  understanding  that  the  purchaser  shall  receive  the  insurance  money  in 
case  of  loss,  and  in  every  Avay  occupy  the  position  of  the  present  owner  and  contributor, 
who  will  convey  to  the  purchaser  a  full  title  of  ownership.  These  two  splendid  works  of 
art,  being  so  well  and  favorably  known  as  features  of  this  collection,  the  Proprietor  has 
thought  it  advisable  to  offer  them  for  sale  with  the  remainder.  They  are  both  guaranteed 
to  be  in  the  most  sound  and  perfect  condition. 


MIGNOT,  L.  R.  New  York. 


140.  THE  SOURCE  OF  THE  SUSQUEHANNAH. 


A  grand  production  and  most  powerful  American  landscape.  Others  may 
paint  what  may  be  termed  cosmopolitan  scenes,  but  here  the  artist 
has  dipped  his  brush  in  the  “  colors  of  America,”  stern  and  rough- 
hewn  as  her  face  is  and  hard  as  a  sculpture  in  bronze,  but  none  the 
less  true  to  nature. 


JOHNSON,  EASTMAN.  New  York. 


141.  OLD  KENTUCKY  HOME. 


A  faithful  and  charming  picture  of  domestic  life  in  the  “  South,”  one 
which  will  be  feelingly  recognized  by  many,  and  yearly  increase  in 
historic  value  as  time  speeds  us  onward  from  the  “days  gone  by.” 
This  is  the  artist’s  masterpiece. 


E.  H.  MAY. 


142.  THE  FALCONER,  (after  Couture.) 

143.  THE  LISTENERS,  (  “  Luminais.) 


ROUSSEAU,  THEODORE.  Paris. 


144.  LANDSCAPE.  LANDES. 


This  is  a  wonderful  picture  by  the  oldest  and  best  of  living  landscape 
painters  in  France,  which  can  show  but  few  landscapes  like  it.  This 
painting  has  extraordinary  value,  from  the  fact  that  Rousseau’s 
works  are  rare ;  and  as  they  are  usually  of  small  size,  this  is  sup¬ 
posed  to  be  one  of  the  largest  in  existence. 


J.  L.  GEROME. 

145.  A  TURKISH  SOLDIER  SMOKING  HIS  CHIBOUCK. 


HESS. 


146.  CHASTITY. 


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